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                  <text>Géographie et cultures étudie la géographie culturelle, en centrant le propos sur le « tournant culturel » et plus largement les cultural studies. Depuis 1992, elle dresse un panorama actualisé en France et à l’étranger de l’état de la recherche dans ce domaine. La revue est conçue comme une plateforme d’idées, d’objets et de formats nouveaux, elle occupe une place originale dans son champ académique.</text>
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                <text>La distinction habituelle dans les pays d’Afrique de l’Ouest entre les espaces urbains et la « brousse » rencontre fréquemment celle qui a été mise en place, notamment au sein de l’UNESCO, entre patrimoine culturel et patrimoine naturel. Or, l’étude historique et ethnographique de la place de la nature dans les capitales ouest africaines, en particulier celle des parcs urbains, oblige à interroger cette distinction. À Ouagadougou et à Bamako, on assiste ces dernières années au renouveau des parcs urbains, et plus précisément à la réappropriation de forêts classées à l’époque coloniale. Ces projets d’aménagement de parcs urbains sont clairement conçus comme des projets de patrimonialisation, de sauvegarde de la biodiversité, mais aussi de construction de lieux de mémoire. Le Parc Urbain Bangr Weoogo (PUBW), à Ouagadougou, comporte notamment un petit musée d’histoire naturelle et une ménagerie, tandis que le parc national du Mali à Bamako, inauguré à l’occasion du cinquantième anniversaire de l’Indépendance du pays, intègre pour sa part le célèbre Musée national du Mali. Par ailleurs, ces projets d’aménagement affichent des enjeux politiques importants mais doivent également composer avec certains usages rituels des territoires concernés. Les deux parcs urbains étudiés possèdent ainsi un statut hybride, obligeant à repenser la distinction entre patrimoine naturel et patrimoine culturel et à articuler les politiques de la nature et les mémoires de la ville en Afrique de l’Ouest.</text>
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                <text>In West African countries, the usual distinction between urban spaces and bush often meets the UNESCO distinction between cultural heritage and natural heritage. Historical and ethnographical study of the place of nature in West African capitals, in particular the one of urban parks, forces to question this distinction. In Ouagadougou and in Bamako, we can observe a renewal of urban parks and reclaiming of forests that were listed under the colonial era. These projects for planning urban parks are conceived as heritage projects, safeguarding of the biodiversity, but also building places of memory. The Parc Urbain Bangr Weoogo (PUBW) in Ouagadougou incorporates a small museum of natural history and a menagerie, whereas the national park of Mali in Bamako, opened for the 50th anniversary of Independence, incorporates the famous National Museum of Mali. While these projects are politically driven, they have to compose in the same time with ritual practices of the concerned territories. Both studied parks are therefore hybrid and bring us to rethink the distinction between natural heritage and cultural heritage and to articulate politics of nature and urban memories in West Africa.</text>
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                <text>Willmott Peter, . Parenté et urbanisation dans l'histoire anglaise. In: Genèses, 4, 1991. Le national. pp. 128-144.</text>
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                <text>Wacquant Loïc, banlieue, politique repressive, Mermet Daniel, guetto</text>
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2006

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Daniel Mermet, 
&amp;nbsp;</text>
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                <text>&lt;div&gt;&lt;strong&gt;         Un reportage &lt;/strong&gt;&lt;strong&gt; diffus&amp;eacute; dans &lt;a target="_blank" href="http://www.radiofrance.fr/franceinter/em/labassijysuis/"&gt;L&amp;agrave; bas si j'y suis&lt;/a&gt;  de Daniel Mermet&lt;br /&gt;
&lt;/strong&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Entretien avec Lo&amp;iuml;c Wacquant, auteur de &amp;quot;Paria urbains - Ghetto - Banlieues - Etat &amp;raquo; aux &amp;eacute;ditions La d&amp;eacute;couverte.&lt;br /&gt;
Penser les banlieues fran&amp;ccedil;aises comme une reproduction des ghettos am&amp;eacute;ricains permet au gouvernement d&amp;rsquo;adopter comme aux Etats-Unis des politiques r&amp;eacute;pressives et s&amp;eacute;curitaires.&lt;br /&gt;
Explications de Lo&amp;iuml;c Wacquant, sociologue et professeur de sociologie &amp;agrave; l&amp;rsquo;Universit&amp;eacute; de Californie, Berkeley.&lt;/div&gt;
&lt;strong&gt;&lt;br /&gt;
&lt;/strong&gt;                   &lt;strong&gt;Ecoute et Podcast :&lt;/strong&gt;&lt;br /&gt;
&lt;p align="justify"&gt;Comme pour toutes les &amp;eacute;missions de France Inter, les &amp;eacute;missions de         L&amp;agrave;-bas si j'y suis peuvent &amp;ecirc;tre &amp;eacute;cout&amp;eacute;es sur son site jusqu'&amp;agrave; la         diffusion de la prochaine &amp;eacute;mission.  &lt;br /&gt;
&lt;br /&gt;
&lt;strong&gt;         Heureusement, le site non officiel de L&amp;agrave;-bas si j'y suis, &lt;a target="_blank" href="http://www.la-bas.org/"&gt;www.la-bas.org&lt;/a&gt;          , conserve et offre &amp;agrave; tous les enregistrements de toutes les &amp;eacute;missions         de Daniel Mermet sous tous les formats audios possibles. &lt;br /&gt;
&lt;/strong&gt;&lt;/p&gt;
&lt;p align="justify"&gt;&lt;strong&gt;Il propose         &amp;eacute;galement un service de podcast de L&amp;agrave;-bas si j'y suis. Merci aux         animateurs de ce site !&lt;br /&gt;
&lt;/strong&gt;&lt;/p&gt;
&lt;/div&gt;
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Michel Pin&amp;ccedil;on, 
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1e avril 2009

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Payot

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&amp;nbsp;&lt;/div&gt;
C'est un Paris insolite et captivant, nostalgique et m&amp;eacute;tiss&amp;eacute;, que Michel Pin&amp;ccedil;on et Monique Pin&amp;ccedil;on-Charlot nous invitent &amp;agrave; parcourir d'une mani&amp;egrave;re originale. Les deux c&amp;eacute;l&amp;egrave;bres sociologues ont con&amp;ccedil;u quinze itin&amp;eacute;raires pour donner &amp;agrave; comprendre la capitale fran&amp;ccedil;aise dans sa diversit&amp;eacute; et faire partager un peu de la vie des habitants de chaque quartier.&lt;br /&gt;
&lt;br /&gt;
Ces promenades, comment&amp;eacute;es et agr&amp;eacute;ment&amp;eacute;es de plans et de photographies, envisagent Paris sous diff&amp;eacute;rents angles sociologiques : l'immigration (Goutte-d'Or, Sentier, 13e arrondissement), la mobilit&amp;eacute; (m&amp;eacute;tro, gare Saint-Lazare), l'embourgeoisement (faubourg Saint-Antoine, 8e arrondissement, Saint-Germain-des-Pr&amp;eacute;s, rue Oberkampf), les transformations architecturales (villas de luxe &amp;agrave; l'ouest, villas populaires &amp;agrave; l'est, Bercy, quartier de la Biblioth&amp;egrave;que de France), le rapport &amp;agrave; la banlieue (les portes de Paris, &amp;agrave; l'ouest d'Asni&amp;egrave;res &amp;agrave; Maillot, &amp;agrave; l'est de Montreuil &amp;agrave; Pantin).&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Le marcheur pourra ainsi d&amp;eacute;couvrir autrement les quartiers o&amp;ugrave; se construit aujourd'hui le Paris de demain, o&amp;ugrave; se joue l'identit&amp;eacute; d'une ville ouverte sur le monde.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
IRESCO&lt;/a&gt;).&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Michel Carmona</text>
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10 novembre 2011

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Editions de la Martini&amp;egrave;re

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&amp;nbsp;&lt;/div&gt;
La conqu&amp;ecirc;te de la Gaule par Jules C&amp;eacute;sar marque l'entr&amp;eacute;e de Paris dans l'Histoire. Prenant cet &amp;eacute;v&amp;eacute;nement comme point de d&amp;eacute;part, Michel Carmona retrace l'histoire de la capitale, de Lut&amp;egrave;ce jusqu'&amp;agrave; l'ambitieux projet du Grand Paris.&lt;/div&gt;
&lt;br /&gt;
L'approche est chronologique mais des th&amp;eacute;matiques transversales &amp;eacute;maillent l'ouvrage : la construction du Louvre, les caf&amp;eacute;s, les immeubles, le m&amp;eacute;tro, les Parisiens. La grande histoire c&amp;ocirc;toie la plus petite : fondation de la ville, grands tournants historiques, Paris sous la R&amp;eacute;volution, Paris occup&amp;eacute;, mais aussi d&amp;eacute;veloppement des quartiers, des transports, premi&amp;egrave;re s&amp;eacute;ance de cin&amp;eacute;ma publique et payante au monde.&lt;br /&gt;
Un ouvrage tr&amp;egrave;s document&amp;eacute;, &amp;eacute;crit par un sp&amp;eacute;cialiste de l'histoire de Paris, qui fait la part belle &amp;agrave; une iconographie le plus souvent in&amp;eacute;dite.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Michel Carmona&lt;/b&gt;, agr&amp;eacute;g&amp;eacute; d'histoire, docteur d'Etat en g&amp;eacute;ographie et am&amp;eacute;nagement, est professeur &amp;eacute;m&amp;eacute;rite &amp;agrave; la Sorbonne o&amp;ugrave; il a enseign&amp;eacute; la g&amp;eacute;ographie urbaine et l'urbanisme.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Simon Texier</text>
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Editions du Pavillon de l'Arsenal

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Les 2500 immeubles parisiens construits dans les ann&amp;eacute;es 1950 forment une entit&amp;eacute; qui a largement contribu&amp;eacute; &amp;agrave; dessiner et moderniser la ville.&lt;br /&gt;
&lt;br /&gt;
Derni&amp;egrave;re d&amp;eacute;cennie pendant laquelle se d&amp;eacute;veloppent massivement des immeubles &amp;quot;urbains&amp;quot;, les ann&amp;eacute;es 1950 sont un moment de tension entre deux id&amp;eacute;es de ville.&lt;br /&gt;
&lt;br /&gt;
De cette tension na&amp;icirc;tront des b&amp;acirc;timents remarquables et d&amp;rsquo;une &amp;eacute;vidente actualit&amp;eacute;, b&amp;acirc;timents dont les qualit&amp;eacute;s contrastent avec la connaissance tr&amp;egrave;s lacunaire que l&amp;rsquo;on en a aujourd&amp;rsquo;hui.&lt;br /&gt;
&lt;br /&gt;
Cet ouvrage propose une relecture de ces architectures, sign&amp;eacute;es par des architectes souvent m&amp;eacute;connus, &amp;agrave; travers un ab&amp;eacute;c&amp;eacute;daire qui met en lumi&amp;egrave;re ses caract&amp;eacute;ristiques et les conditions de sa production.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Simon Texier&lt;/b&gt; est ma&amp;icirc;tre de conf&amp;eacute;rences &amp;agrave; l'Universit&amp;eacute; de Paris Sorbonne.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
exposition&lt;/a&gt; sur ce th&amp;egrave;me est visible au Pavillon de l'Arsenal les 18 et 19 septembre 2010.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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6 novembre 2008

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Le Passage

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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Paris 21e si&amp;egrave;cle pr&amp;eacute;sente de mani&amp;egrave;re aussi pr&amp;eacute;cise que possible l&amp;rsquo;&amp;eacute;tat de Paris sur le plan sociologique, &amp;eacute;conomique et urbain au d&amp;eacute;but du XXIe si&amp;egrave;cle. Le propos g&amp;eacute;n&amp;eacute;ral est de dresser un bilan exhaustif et de mettre en &amp;eacute;vidence les perspectives de d&amp;eacute;veloppement qui se dessinent pour la capitale fran&amp;ccedil;aise et son agglom&amp;eacute;ration.&lt;br /&gt;
&lt;br /&gt;
L&amp;rsquo;ouvrage, qui pr&amp;eacute;sente des textes de synth&amp;egrave;se sur les principales probl&amp;eacute;matiques urbaines (population, logement, emploi, transports, &amp;eacute;quipements, environnement, etc.), est accompagn&amp;eacute; d&amp;rsquo;un dvd regroupant l&amp;rsquo;&amp;eacute;quivalent de 1 200 pages de donn&amp;eacute;es, cartes, analyses, photographies, projets architecturaux, pour chacun des 20 arrondissements qui composent aujourd&amp;rsquo;hui la ville.&lt;br /&gt;
&lt;br /&gt;
Cette vaste fresque de Paris a &amp;eacute;t&amp;eacute; r&amp;eacute;alis&amp;eacute;e par l&amp;rsquo;Atelier parisien d&amp;rsquo;urbanisme. Elle est l&amp;rsquo;&amp;oelig;uvre d&amp;rsquo;une &amp;eacute;quipe de sp&amp;eacute;cialistes (d&amp;eacute;mographes, urbanistes, &amp;eacute;conomistes, architectes) plac&amp;eacute;s aux avant-postes de tous les projets de la capitale depuis le d&amp;eacute;but des ann&amp;eacute;es 1970.&lt;br /&gt;
Cet ouvrage est porteur d&amp;rsquo;une triple ambition : s&amp;rsquo;inscrire dans l&amp;rsquo;histoire, au c&amp;oelig;ur de l&amp;rsquo;actualit&amp;eacute;, et aussi dessiner les perspectives de ce que sera la capitale dans les prochaines d&amp;eacute;cennies.&lt;br /&gt;
&lt;br /&gt;
Paris 21e si&amp;egrave;cle sera un outil pr&amp;eacute;cieux pour nourrir les r&amp;eacute;flexions sur l&amp;rsquo;avenir alors que se profilent &amp;agrave; l&amp;rsquo;horizon des bouleversements dont on a encore du mal &amp;agrave; saisir tous les effets : le r&amp;eacute;chauffement climatique, la mondialisation, la r&amp;eacute;volution des moyens de d&amp;eacute;placement et des transmissions, etc. Par ailleurs, parlera-t-on demain encore en ces termes des 20 arrondissements qui constituent le c&amp;oelig;ur de la m&amp;eacute;tropole alors qu&amp;rsquo;aujourd&amp;rsquo;hui d&amp;eacute;j&amp;agrave; se dessine un nouveau mode de gouvernance pour l&amp;rsquo;agglom&amp;eacute;ration parisienne avec la notion de &amp;quot;Grand Paris&amp;quot; ?&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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2004

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Giv Anquetil</text>
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                <text>&lt;div&gt;&lt;strong&gt;         Un reportage &lt;/strong&gt;&lt;strong&gt; diffus&amp;eacute; dans &lt;a target="_blank" href="http://www.radiofrance.fr/franceinter/em/labassijysuis/"&gt;L&amp;agrave; bas si j'y suis&lt;/a&gt;  de Daniel Mermet&lt;br /&gt;
&lt;/strong&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Pascal Blanchard, historien et auteur de livre &amp;quot;Paris arabe, deux si&amp;egrave;cles de pr&amp;eacute;sence des orientaux et maghr&amp;eacute;bins&amp;quot;, nous conduit &amp;agrave; travers les rues de Paris &amp;agrave; la d&amp;eacute;couverte de l'histoire de la communau&amp;eacute; arabe et &amp;agrave; a rencontre du regard des Parisiens &amp;agrave; son &amp;eacute;gard.&lt;/div&gt;
&lt;strong&gt;&lt;br /&gt;
&lt;/strong&gt;                   &lt;strong&gt;Ecoute et Podcast :&lt;/strong&gt;&lt;br /&gt;
&lt;p align="justify"&gt;Comme pour toutes les &amp;eacute;missions de France Inter, les &amp;eacute;missions de         L&amp;agrave;-bas si j'y suis peuvent &amp;ecirc;tre &amp;eacute;cout&amp;eacute;es sur son site jusqu'&amp;agrave; la         diffusion de la prochaine &amp;eacute;mission.  &lt;br /&gt;
&lt;br /&gt;
&lt;strong&gt;         Heureusement, le site non officiel de L&amp;agrave;-bas si j'y suis, &lt;a target="_blank" href="http://www.la-bas.org/"&gt;www.la-bas.org&lt;/a&gt;          , conserve et offre &amp;agrave; tous les enregistrements de toutes les &amp;eacute;missions         de Daniel Mermet sous tous les formats audios possibles. &lt;br /&gt;
&lt;/strong&gt;&lt;/p&gt;
&lt;p align="justify"&gt;&lt;strong&gt;Il propose         &amp;eacute;galement un service de podcast de L&amp;agrave;-bas si j'y suis. Merci aux         animateurs de ce site !&lt;br /&gt;
&lt;/strong&gt;&lt;/p&gt;
&lt;/div&gt;
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Priscilla Parkhurst Ferguson

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1994

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University of California Press 

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&amp;nbsp;&lt;/div&gt;
In nineteenth-century Paris, passionate involvement with revolution turned the city into an engrossing object of cultural speculation. For writers caught between an explosive past and a bewildering future, revolution offered a virtuoso metaphor by which the city could be known and a vital principle through which it could be portrayed.In this engaging book, Priscilla Ferguson locates the originality and modernity of nineteenth-century French literature in the intersection of the city with revolution. A cultural geography, Paris as Revolution &amp;quot;reads&amp;quot; the nineteenth-century city not in literary works alone but across a broad spectrum of urban icons and narratives. Ferguson moves easily between literary and cultural history and between semiotic and sociological analysis to underscore the movement and change that fueled the powerful narratives defining the century, the city, and their literature. In her understanding and reconstruction of the guidebooks of Mercier, Hugo, Vall&amp;egrave;s, and others, alongside the novels of Flaubert, Hugo, Vall&amp;egrave;s, and Zola, Ferguson reveals that these works are themselves revolutionary performances, ones that challenged the modernizing city even as they transcribed its emergence.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Priscilla Parkhurst Ferguson &lt;/b&gt;is a Professor in the Department of Sociology at Columbia University.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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  La Fosse au Lions désignait sous l'Ancien Régime, à Montrouge, une vaste 
dépression de terrain, ancienne entrée de carrière. La région, aux confins de la 
ville habitée, avait la réputation d'être hantée, d'être située, comme on disait, «au 
diable Vauvert». En 1853, à la faveur d'un bail entre l'entrepreneur chargé du 
déblaiement et le propriétaire, l'Assistance publique, une cité misérable faite de 
cabanes en bois vit le jour sur ce terrain. Le phénomène était alors fréquent à 
Paris, effet des travaux haussmanniens, mais cette cité faisait peur en raison de sa 
situation. Des prêtres en soutane aventurés là furent fort mal reçus et s'enfuirent 
paniqués, alors que leur mauvais accueil par les habitant s'explique par la peur 
superstitieuse provoquée chez les gens du peuple à la vue d'hommes en noir. Mais 
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du lieu fit rapidement place à une peur de nature sociale: la misère et l'absence de 
toute religion faisaient des habitants de la cité l'avant-garde d'un peuple barbare, 
inassimilable, qui finirait par ruiner toutes les valeurs de la civilisation si on n'y 
prenait pas garde.
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Mathilde Helleu</text>
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Juin 2011

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Editions Inculte

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A chaque carrefour, chaque d&amp;eacute;tour de ruelle, chaque ombre port&amp;eacute;e d&amp;rsquo;un lampadaire, Paris respire du souffle de ses grands &amp;eacute;crivains. Flaubert, Lautr&amp;eacute;amont, Perec, Fargue, Hemingway, Proust ou Villon parcourent les rues de Paris au sein de cette anthologie o&amp;ugrave; se croisent classiques, modernes et romanciers contemporains. Pr&amp;eacute;sent&amp;eacute; sous la forme d&amp;rsquo;un guide touristique, ce Paris au pied de la lettre est un voyage dans une ville in&amp;eacute;puisable. On y apprendra comment &amp;quot;rencontrer l&amp;rsquo;autochtone&amp;quot;, s&amp;rsquo;orienter et se d&amp;eacute;sorienter dans le d&amp;eacute;dale des passages parisiens, occuper ses dimanches, &amp;eacute;viter dangers et d&amp;eacute;sagr&amp;eacute;ments, vivre les nuits d&amp;rsquo;ivresse et les matins bl&amp;ecirc;mes de cette ville qui &amp;quot;ne finit jamais&amp;quot;.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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Vincent Bouvet
G&amp;eacute;rard Durozoi

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November 2010

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Vendome Press 

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Between the Victory parade along the Champs-Elys&amp;eacute;es in 1919 and the Germans' march through the Arc de Triomphe in 1940, Paris enjoyed a twenty-year period of cultural and intellectual expansion, receptive to the avant-garde while loyal to the French tradition of classicism. During  this between-the-wars period, France remained a major economic, military, and colonial power. Philosophy, art, and fashion radiated from Paris. Artists and intellectuals came from every part of the world to the City of Light to find inspiration.&lt;br /&gt;
&lt;br /&gt;
Paris sparkled in the ann&amp;eacute;es folles that followed the euphoria of victory in World War I. The bohemian lifestyle of Montparnasse attracted international painters and sculptors such as Chagall, Giacometti, and Calder to studios, caf&amp;eacute;s, and bars such as La Coupole. The chameleon-like genius Picasso experimented simultaneously with a myriad of art styles, including Surrealism.  Matisse and L&amp;eacute;ger opened academies. The School of Paris encompassed artists as varied as Balthus, Calder, Derain, van Dongen, Foujita, and Maillol, while the capital became the world center of abstract art, thanks to Mondrian and Mir&amp;oacute;. Photographers such as Cartier-Bresson and Brassa&amp;iuml; explored new techniques, while Bellmer and Dora Maar's edgy, psychosexual work broke boundaries. Haute couture confirmed Parisian chic with the emergence of Chanel, Vionnet, Lanvin, and Schiaparelli. Luxurious objects and decorative arts, epitomized by the glossy ebony cabinetry of Ruhlman, the sophisticated lighting of Lalique, and the stylishly glamorous portraits of Tamara de Lempicka, created the Art Deco style. A similar creative fever animated dance (Ballets Russes), architecture (Le Corbusier, Chareau, Mallet-Stevens), and film (Ren&amp;eacute; Clair).&lt;br /&gt;
&lt;br /&gt;
Intellectual life was in full flower, punctuated by arcane disputes between Dadaists and Surrealists. American writers artists and photographers, powered by the almighty dollar, flocked to Paris and formed a boisterous section of the international community. The &amp;ldquo;lost generation&amp;quot; of Hemingway and Fitzgerald took tea with Gertrude Stein, were photographed by Lee Miller and Man Ray, and cheered Josephine Baker's La Revue Negre; the party continued into the late hours, attended by Ana&amp;iuml;s Nin and Henry Miller, drawn by Paris' tolerance for all forms of sexuality. Then came the crash of 1929 and the rise to power of authoritarian regimes in Germany, Italy, Russia, and Spain. While Paris remained an active cultural and intellectual center, it had lost some of its carefree spirit. Artistic experimentation, notably in architecture, reverted to more classical antecedents, or reflected the growing insecurity and violence, as in Picasso's Guernica.&lt;br /&gt;
&lt;br /&gt;
Richly illustrated with hundreds of paintings, drawings, photographs, and posters, this book is a cross-cultural history of a great city's intellectual and cultural ferment in the dazzling post-World War I era.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
&lt;b&gt;Vincent Bouvet&lt;/b&gt; is an art historian specializing in architecture and decorative arts of the 19th and 20th centuries. He is currently head of communications at the Ecole Nationale Sup&amp;eacute;rieure des Arts D&amp;eacute;coratifs.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;G&amp;eacute;rard Durozoi&lt;/b&gt; is a French philosopher, art historian, and critic. He has written numerous books and articles and edited a dictionary of modern and contemporary art.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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&#13;
Sophie Corbillé est ethnologue, maître de conférences à l’université Paris-Sorbonne Celsa, membre du GRIPIC et chercheure associée au Laboratoire d’anthropologie urbaine (IIAC, CNRS/EHESS). Elle est co-auteur avec Sophie Chevalier et Emmanuelle Lallement de Paris résidence secondaire. Enquête chez ces habitants d’un nouveau genre (Belin/MSH, 2013).</text>
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H&amp;eacute;l&amp;egrave;ne Briscoe</text>
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&amp;nbsp;&lt;/div&gt;
&amp;quot;Le faible rayonnement de taches grises, clairsem&amp;eacute;es, grandissantes &amp;agrave; mesure que l&amp;rsquo;on s&amp;rsquo;approche des bords, &amp;eacute;merge &amp;agrave; mesure que l&amp;rsquo;on approche de la fin : &amp;quot;espaces neutres et sans genre&amp;quot;, parfois sans nom, elles forment un &amp;quot;p&amp;eacute;ri-Paris&amp;quot;, ou un &amp;laquo;&amp;quot;contre-Paris&amp;quot; dans Paris. Quelques friches, bien s&amp;ucirc;r, il y en avait encore, mais aussi toutes sortes d&amp;rsquo;endroits o&amp;ugrave; plane le m&amp;ecirc;me doute. Des endroits maudits par on ne sait quels dieux depuis le fond du Moyen &amp;Acirc;ge, de ces emplacements o&amp;ugrave; se concentrent les accidents, o&amp;ugrave; les commerces, quels qu&amp;rsquo;ils soient, fatalement p&amp;eacute;riclitent, de ces aimants qui d&amp;eacute;vient les itin&amp;eacute;raires, ou de ces lieux sans g&amp;eacute;nie o&amp;ugrave; l&amp;rsquo;on se sent toujours perdu. Ce sont un square aux abords du m&amp;eacute;tro a&amp;eacute;rien, des places qui n&amp;rsquo;en sont pas, le bout de la Tombe-Issoire, un tron&amp;ccedil;on d&amp;rsquo;avenue dans la steppe du douzi&amp;egrave;me, parfois simplement un immeuble (11, cit&amp;eacute; de Tr&amp;eacute;vise), ou ce d&amp;eacute;sert compris entre les grilles du Luxembourg et celles de l&amp;rsquo;Observatoire, o&amp;ugrave; le vieux chef des D&amp;eacute;vorants imagin&amp;eacute; par Balzac finit sa vie en mollusque parmi les joueurs de boules &amp;agrave; la derni&amp;egrave;re page de Ferragus.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
H&amp;eacute;l&amp;egrave;ne Briscoe collabore au Tigre depuis les d&amp;eacute;buts du journal. D&amp;rsquo;abord responsable de la rubrique &amp;quot;Portrait&amp;quot;, qui a donn&amp;eacute; lieu &amp;agrave; deux livres (Les directeurs les ouvriers et les belles st&amp;eacute;no-dactylographes, 2010, et Du lundi matin au samedi soir quatre fois par jour y passent, 2011), elle tient depuis deux ans une chronique intitul&amp;eacute;e &amp;quot;Topographies ! Itin&amp;eacute;raires !&amp;quot;. C&amp;rsquo;est dans cette rubrique que sont parus les textes de Paris contre Paris, r&amp;eacute;&amp;eacute;crits pour l&amp;rsquo;occasion : fl&amp;acirc;neries litt&amp;eacute;raires et historiques permettant de d&amp;eacute;couvrir une autre facette de Paris, ces textes racontent en quelques pages les &amp;eacute;go&amp;ucirc;ts, le pneumatique, les boulevards des Mar&amp;eacute;chaux, la Bi&amp;egrave;vre, le trou des Halles, les axes rouges, les enseignes des magasins, les bateaux-mouches... On y croise Nerval, Balzac, Proust, Benjamin, Modiano, Debord, Aragon, Remy de Gourmont... Et l&amp;rsquo;on s&amp;rsquo;y demande :&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Il para&amp;icirc;t que, la nuit, des vieilles dames se glissent dans les Buttes-Chaumont. Il para&amp;icirc;t qu&amp;rsquo;elles en ont la cl&amp;eacute; et qu&amp;rsquo;elles viennent y nourrir les animaux. Avez-vous d&amp;eacute;j&amp;agrave; entendu parler de ces sabbats ? Mieux : y avez-vous assist&amp;eacute; ? Veulent-elles se cacher, veulent-elles seulement &amp;ecirc;tre en paix ? Ou est-ce qu&amp;rsquo;elles ne s&amp;rsquo;int&amp;eacute;ressent qu&amp;rsquo;aux esp&amp;egrave;ces nocturnes ?&amp;quot;&lt;/div&gt;
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Fayard

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&amp;nbsp;&lt;/div&gt;
Un jour, la Seine d&amp;eacute;bordera de son lit, comme elle l&amp;rsquo;a fait en 1910. Malgr&amp;eacute; les progr&amp;egrave;s des sciences et des techniques, une telle inondation est in&amp;eacute;luctable. Quand se produira-t-elle ? Nous l&amp;rsquo;ignorons. Nous savons en revanche qu&amp;rsquo;elle aura des retomb&amp;eacute;es d&amp;eacute;sastreuses, infiniment plus graves qu&amp;rsquo;il y a un si&amp;egrave;cle. Elle provoquera des dommages consid&amp;eacute;rables et risquera de paralyser la vie &amp;eacute;conomique de la r&amp;eacute;gion capitale, centre n&amp;eacute;vralgique du pays.&lt;/div&gt;
&lt;br /&gt;
A de multiples &amp;eacute;chelles et de multiples niveaux, de l&amp;rsquo;&amp;Eacute;lys&amp;eacute;e &amp;agrave; la RATP en passant par les si&amp;egrave;ges sociaux de La D&amp;eacute;fense, un r&amp;eacute;seau d&amp;rsquo;acteurs tente de se tenir pr&amp;ecirc;t pour la &amp;quot;crue du si&amp;egrave;cle&amp;quot;. Cependant, la Ville lumi&amp;egrave;re, l&amp;rsquo;Ile-de-France et leurs 10 millions d&amp;rsquo;habitants sont plus vuln&amp;eacute;rables aujourd&amp;rsquo;hui qu&amp;rsquo;il y a un si&amp;egrave;cle. Pourquoi ? Que nous dit l&amp;rsquo;impr&amp;eacute;paration de la soci&amp;eacute;t&amp;eacute; civile sur nos aspirations &amp;agrave; la s&amp;eacute;curit&amp;eacute;, notre rapport &amp;agrave; la nature ou le d&amp;eacute;veloppement actuel des m&amp;eacute;tropoles mondialis&amp;eacute;es ?&lt;/div&gt;
&lt;br /&gt;
R&amp;eacute;guli&amp;egrave;rement, des catastrophes viennent nous rappeler la vuln&amp;eacute;rabilit&amp;eacute; de nos villes face &amp;agrave; des ph&amp;eacute;nom&amp;egrave;nes qui n&amp;rsquo;ont pourtant rien d&amp;rsquo;exceptionnel. A l&amp;rsquo;heure o&amp;ugrave; la n&amp;eacute;cessit&amp;eacute; d&amp;rsquo;un d&amp;eacute;veloppement plus durable semble de plus en plus largement admise, la tol&amp;eacute;rance des soci&amp;eacute;t&amp;eacute;s tr&amp;egrave;s modernes face &amp;agrave; de tels &amp;eacute;v&amp;eacute;nements est de plus en plus faible. A travers un d&amp;eacute;cryptage limpide des cons&amp;eacute;quences pr&amp;eacute;visibles d&amp;rsquo;une inondation centennale de l&amp;rsquo;agglom&amp;eacute;ration parisienne, Magali Reghezza-Zitt propose une r&amp;eacute;flexion in&amp;eacute;dite et stimulante sur la fa&amp;ccedil;on dont nos soci&amp;eacute;t&amp;eacute;s font ou refusent de faire face aux risques &amp;quot;naturels&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
&lt;b&gt;Magali Reghezza-Zitt&lt;/b&gt;, agr&amp;eacute;g&amp;eacute;e et docteure en g&amp;eacute;ographie, est ma&amp;icirc;tre de conf&amp;eacute;rences &amp;agrave; l&amp;rsquo;Ecole normale sup&amp;eacute;rieure de la rue d&amp;rsquo;Ulm.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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&amp;nbsp;&lt;/div&gt;
Ce travail collectif regroupant historiens, g&amp;eacute;ographes et informaticiens, t&amp;eacute;moigne des profonds renouvellements de l'histoire m&amp;eacute;di&amp;eacute;vale et moderne de Paris gr&amp;acirc;ce &amp;agrave; l'analyse spatiale. &lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Le plus ancien plan parcellaire de Paris (plans Vasserot 1810-1836) a &amp;eacute;t&amp;eacute; reconstitu&amp;eacute; dans un syst&amp;egrave;me d'information g&amp;eacute;ographique, permettant ainsi d'analyser la morphologie urbaine et de la croiser avec diverses emprises sociales : localisation des enceintes, densit&amp;eacute;s socio-&amp;eacute;conomiques, spatialit&amp;eacute;s du pouvoir seigneurial et royal, pr&amp;eacute;sence de la noblesse &amp;agrave; Paris sont autant de dimensions de la fabrique de la ville b&amp;eacute;n&amp;eacute;ficiant d'un &amp;eacute;clairage nouveau. &lt;/div&gt;
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Ouvrage unique en son genre, richement illustr&amp;eacute;, Paris de parcelles en pixels est la synth&amp;egrave;se d'une exp&amp;eacute;rience unique et in&amp;eacute;dite jusqu'&amp;agrave; aujourd'hui.&lt;/div&gt;
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                <text>Paris des Utopies</text>
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Yvan Christ</text>
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19 octobre 2011

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Nicolas Chaudun

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208</text>
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                <text>&lt;div&gt;&lt;b&gt;Pr&amp;eacute;sentation par l'&amp;eacute;diteur :&lt;/b&gt;&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Il y a 40 ans, l&amp;rsquo;historien de l&amp;rsquo;architecture &lt;b&gt;Yvan Christ&lt;/b&gt; publiait &lt;i&gt;Paris des utopies&lt;/i&gt;, esp&amp;egrave;ce d&amp;rsquo;inventaire &amp;agrave; la Pr&amp;eacute;vert des &amp;quot;grands projets&amp;quot; recal&amp;eacute;s &amp;agrave; l&amp;rsquo;examen de sortie. C&amp;rsquo;&amp;eacute;tait les ann&amp;eacute;es Pompidou ; Paris pleurait ses halles centrales et Malraux lui-m&amp;ecirc;me refusait tout sursis &amp;agrave; l&amp;rsquo;architecture d&amp;rsquo;Hector Guimard. l&amp;rsquo;id&amp;eacute;e d&amp;rsquo;un pont Napol&amp;eacute;on somm&amp;eacute; d&amp;rsquo;une effigie imp&amp;eacute;riale fa&amp;ccedil;on colosse de Rhodes passait alors pour une bimbeloterie pittoresque, la d&amp;eacute;mesure corbus&amp;eacute;enne la rel&amp;eacute;guant ad aeternam au placard des nains de jardin. Seulement, les modernes ont pass&amp;eacute; et, apr&amp;egrave;s eux, les post-modernes. Autoproclam&amp;eacute; &amp;quot;grand&amp;quot;, Paris s&amp;rsquo;interroge...&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
Il nous a sembl&amp;eacute; opportun et jouissif de r&amp;eacute;&amp;eacute;diter ce catalogue d&amp;rsquo;extravagances s&amp;eacute;culaires. On l&amp;rsquo;a agr&amp;eacute;ment&amp;eacute; de quelques trouvailles ayant &amp;eacute;chapp&amp;eacute; &amp;agrave; l&amp;rsquo;auteur &amp;ndash; une grandiloquente p&amp;acirc;tisserie placard&amp;eacute;e &amp;agrave; l&amp;rsquo;arri&amp;egrave;re du palais de l&amp;rsquo;institut, les gratte-ciel crypto-staliniens de la porte Maillot &amp;ndash;, ainsi que des projets plus contemporains qui d&amp;eacute;montrent avec quelle vigueur la vieille capitale des M&amp;eacute;rovingiens continue d&amp;rsquo;exciter la verve des architectes.&lt;/div&gt;
&amp;nbsp;&lt;/div&gt;
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        <name>utopie</name>
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